What is the essence of editor's beauty? What is the aesthetic standard of art? What is the object of philosophy? This is the core issue of world culture.
The above three problems are not clearly understood in contemporary aesthetics, art and philosophy, but also in the history of art, art and philosophy in the world. This is a great learning. Today, in the East, in China, and in the land of Jingchu, Mr. Lu Zhenhan, a calligrapher and Taoist, understands them and speaks to the world: Culture in China, art in China, philosophy in China, and essence God is in China.
The essence of beauty is the movement of life. The aesthetic standard of art is the movement of life. The object of philosophy is the movement of life. The movement of life is the whole of the universe. The movement of life is the unity of matter and spirit.
The significance of Chinese calligraphy to world philosophy, aesthetics and art
--Lu Zhenhan from daze
Chinese culture originated from the ghost pictograph, and the Chinese Yi Jing originated from the ghost pictograph. Chinese philosophy originated from ghost symbols. Both Chinese Daoism and Chinese art originated from ghost symbols. Ghost drawing is actually divination. Our ancient ancestors in the material civilization is not yet developed in ancient times, in order to resist the natural forces, with the help of the gods held a kind of sacrificial activities. Pray for heaven's blessing. The ghost glyph came into being. This is the symbol of heaven that ordinary people can't understand. These symbols are the marks left by the sacrificial wizard daubing the objects with Zhu Dan in a dazed and unconscious state. It is said that it conveys the will and declaration of heaven. Of course, in addition to the wizard's ghost symbols, these sacrificial activities should be recorded and engraved on the oracle bones which are easy to preserve. Of course, this kind of depiction can not be called ghost pictograph, but when it was extended to be a derogatory term for those scribbled writers, it is impossible to examine. I remember that there is a common saying "writing is not standard, immortals can not recognize" with this meaning.
That is to say, the origin of human civilization started from these divination activities in ancient times. It can also be said that the origin of Chinese calligraphy art also starts from here, from ghost symbols to pictographs, to oracle bone inscriptions, gold inscriptions and seal characters, Li, Kai, Xing, Cao, and calligraphy, from practicality to art. Chinese characters have always been the spokesmen of gods since ancient times. Culture has become the only spiritual sustenance of our ancestors. The appearance of Hetu Luoshu is a sign from heaven. Of course, this is to remove the long evolutionary process of our ancestors before the creation of recorded civilization. As Marx said, "labor created man itself.". They want to survive, to engage in practical activities and labor creation, to evenly distribute the fruits of labor, labor tools, labor language exchange. Drawing to remember events, tying ropes, piling stones to count, is a long process from ape to man.
The appearance of Hetu Luoshu shows that the Chinese civilization at that time has entered the stage of high intelligence, and the ancestors' understanding of point and line is not the general understanding. They have already found out the connection of point, line, surface and body in nature and the change law of time and space. The ancient Chinese theory of change began to be born. Chinese philosophy began to emerge. Xia has Lianshan, Shang has Guizang, Zhou has Zhouyi, all of which are expositions on the changing law of everything in the world. The study of these laws reached its peak in the spring and Autumn period and the Warring States period. This is Laozi, Zhuangzi, Confucius on the "Tao" theory. Lao Tzu's philosophy of "Inaction", Zhuangzi's philosophy of art "heaven and earth have great beauty but don't speak", Confucius's philosophy of "heaven, earth and man's unity" reveal that "love" is the essence of the world and the eternal spirit of the universe. In this period, the Buddhism of Sakyamuni appeared in India. In essence, the doctrine of "Tao" was proposed by Laozi, Zhuangzi and Confucius in China. Later it developed into Taoism and Confucianism. The essence of the spirit is consistent with Sakyamuni's Buddhism. I once wrote a piece of work "Tao and Buddha are concentric", which is the meaning here. Sakyamuni's "eight saints" is about the process and realm of enlightenment. It also reveals that love is the essence of the world and the eternal spirit of the universe. Chinese Daoism pays more attention to what "Tao" is, while Sakyamuni of India focuses on "how to understand Taoism". What I can't understand is why there was FA Xian in the Eastern Jin Dynasty and Xuanzang in the Tang Dynasty who traveled westward to get scriptures. Is this the origin of the saying that "foreign monks like to chant sutras". Is this the starting point of China's long history from abroad. I do not hold a negative attitude towards the great contributions and feats made by FA Xian and Xuanzang for the oriental culture. One is that Chinese people often look down on themselves and lack self-confidence; the other is that China has long suppressed talents. It is said that Xuanzang set out on his own without the emperor's instructions. This is, of course, a pity. This reminds me of Qin Shihuang's "burning books and burying Confucianism". Qin Shihuang made great contribution to the unification of China, but "burning books and burying Confucianism" is not a mistake. It seems certain today. It is just like we look at other great men today. They are all human beings, and they are not beyond the limitations of human beings. "Is burning books and burying Confucianism just for Confucianism? I don't think the theories of Laozi and Zhuangzi should not be among them. The Confucian philosophy of entering the world has denied it. I think the philosophy of Laozi Zhuangzi's inaction can't be tolerated. Let's burn them all. Is this another reason why the two elders went to the west.
When foreigners look at China, they call Chinese philosophy simple. It is said that in ancient China there was not even a decent philosophical book. However, which philosophical classics in the world can be compared with the book of changes in China, and which philosophical great classics can absorb the changes of all kinds in the world. From the harmonious unity of heaven, earth and man to the revelation of the eternal true love of the universe, the highest level of philosophy is the establishment of Laozi's Tao Te Ching. This is the culmination of human wisdom. Sakyamuni of India can testify. However, Western materialism, from the perspective of material civilization, established the theory of "the world is material" with the authority of science and technology. Based on the fact, the so-called fact is the visible "material", which denies the theory that the world is spiritual, which is defined as "idealism". It emphasizes that the world is material, there is material before spirit, and material determines spirit. Therefore, materialism has won the victory in the face of facts. However, the unseen spiritual things of idealism have disappeared and will inevitably be suppressed and withdrawn from the stage of history. However, with the development of science and technology, materialism, as a theory based on science and technology, felt more and more uncertain and questioned in the middle and late 20th century. Newton's gravitation, Einstein's theory of relativity, Planck's quantum mechanics have proved that "matter" is not enough to explain the world, let alone the universe, and put forward the theory of "the unity of time and space". It proves that the visible facts are not all the facts. The Chinese calligraphy art has experienced thousands of years of inheritance, from ancient times to today has confirmed Einstein's "unity of time and space", Chinese calligraphy from point line surface to space to time expression. Today, we have completed the "unity of time and space", from static abstraction to dynamic abstraction. Lao Tzu's Taoist theory is shown in the visible plane space through the point line layout structure, which can only be understood but can't be explained. The magic of Chinese calligraphy is to materialize the invisible things of "spirit" into works, so that people can see, touch and vividly present them. It can be seen that Chinese calligraphy is not only an art, but also a science. It will carry forward Chinese Taoism. I once said such a sentence in the art of life: "without calligraphy, China is not China". This is not exaggeration. Chinese calligraphy is culture, art and philosophy. I also named Chinese brush as the first invention in ancient China. It is called the root of Chinese nation, Chinese culture and Chinese art. Those scholars who still have doubts about Xiong Bingming's proposition that "calligraphy is the core of Chinese culture" should be a reasonable answer. None of the Chinese arts and crafts is divorced from Chinese calligraphy. To trace its origin, we have to find evidence from the text. None of those words are authentic works left by calligraphers. Unlike today's printed books, they are conveyed in the media of computer and television.
"The world is material. First there is material, then there is spirit, and material determines spirit." This is a materialistic view of the universe. "The world is spiritual. There is spirit first and then material, and spirit determines material." This is an idealistic view of the universe. These are two totally opposite views of the universe. However, one thing worth paying attention to is that both materialism and idealism have one thing in common, that is, they all recognize the law of "unity of opposites" in dialectics. Whether one is divided into two or yin and yang are integrated, their meanings are the same. "The coexistence of the two sides of the contradiction is both opposite and unified." they all made the biggest mistake, that is, they only emphasize the opposition but forget the unity. What can be seen is the fact, and what can not be seen is the same fact. "The world is a unity of matter and spirit." What can be seen is the form of material existence, commonly known as "shape". What is invisible is the inner substance, spirit and energy wrapped in the shape of matter, commonly known as "God". This is not the gods and ghosts, but the feelings and nature of the heart. To be more precise, "the world is life, life is moving." this is the "unity of time and space". Everything in the world is a living body, animals and plants, organic matter and inorganic matter are the same, but the existence form of life is different. Scientists trace the evolution of the eyes of animals to single cells. They think that single celled animals have been able to feel the effect of light. Any substance has a magnetic field and has energy. It can emit electrons and emit energy. Any substance can carry out physical and chemical reactions. Of course, these are the conclusions of scientific research. However, the ancient sages of China, with the thought of harmony and unity of heaven, earth and man, are the same as those of scientists thousands of years later. This proves that Chinese wisdom is broad and profound, and Chinese calligraphy is the source of this wisdom. I'm in awe of the Chinese sages! I am awed by the art of Chinese calligraphy! Why to say "the wisdom of the world is in the head of Chinese people", I seem to find the answer here.
There are many kinds of skills in the world, but the height of Chinese calligraphy art is incomparable to any other art in the world. Westerners divide all the Arts in the world into two categories: one is time art, the other is space art. However, there is only one category of art in the world, either in time or in space. However, only Chinese calligraphy art has two types at the same time, both time and space are expressed at the same time, and achieve the perfect unity of time and space. It is almost a miracle in the world that only a pen can arbitrarily form a three-dimensional life movement on a flat paper and create life movement. This is almost a miracle in the world, which can not be explained by today's science.
In the history of western aesthetics, the essence of beauty has been debated for two or three thousand years, and there is no substantive conclusion. Plato, the ancient Greek philosopher, believed that the essence of beauty was "the idea of beauty". Aristotle, a disciple of Plato, believed that it was "the main form of beauty". Prodin thought it was "God's reason". During the Renaissance, French philosopher Diderot put forward "the relationship of beauty". Hume, an American philosopher, thinks that "beauty is a subjective pleasure"; Kant, a German philosopher, thinks that "beauty itself only involves form"; Hegel thinks that "the perceptual manifestation of the idea of beauty"; and Croce thinks that "beauty is intuition and expression". Chernychevsky believes that "beauty is life". The fundamental reason why Western philosophers have been arguing about the essence of beauty is the unitary argument between materialism and idealism, which opposes subjectivity and objectivity. In essence, the fundamental problem of aesthetics is also the fundamental problem of philosophy. If the problem of world outlook is not solved, the fundamental problem of aesthetics cannot be solved. Therefore, materialism and idealism hold each other's sides, and no one can conquer anyone. This is the argument between material and spiritual in human history, which is endless.
The debate between materialism and idealism is, in the final analysis, a matter of realm. Neither materialism nor idealism can reach the height of Tao. This height is essentially the highest level of philosophy. Only when we reach this level can we realize that "the world is material and spiritual at the same time. There is no such truth as "which comes first, and no one decides who". What's more, he can't realize that the world is composed of life movement. What he embodies is love and duality. This is the essence of the world, which is a truth that no theory can deny. It's a universal theory. There is no need to impose this kind of Taoist theory on others. Whoever has this truth will have the world. The earth revolves around the sun, and the moon revolves around the earth, which is caused by energy and love. The sun's unselfish light and heat to the earth is the same as the mother's unselfish love to her children and the love of all animals for their young. The reason why man can evolve from ape to man is that man can extend the maternal love existing in the world, so that human beings can transition from matriarchal clan to paternal clan, and evolve into today's highly intelligent human beings. All of these are the results of love, which is what Confucius called "benevolence". However, today's human society has developed to an advanced stage, its love is so lost because of human beings In the pursuit of material civilization, the material possessive desire begins to expand, and the spirit is also lost. Therefore, the more developed the material civilization, the farther away we will be from the truth, almost in the opposite direction. Western material civilization is at the expense of spiritual civilization, so I once said: "we look to the western material civilization, but in terms of spiritual civilization, it is not the east looking up to the west, but the west looking to the East and looking to China." It's the truth.
Since "the world is life, life is moving." Life movement is the foundation of the world, so what is the essence of beauty? That is love, is the love of life movement phenomenon, is the extension of mother's selfless love for children. From the love of children to the love of the natural world, love is not possessed by the material world itself. It is a kind of love emotion added by human beings to the material nature. It is a spiritual thing. The combination of the emotion of the spiritual world and the natural material is what Westerners call the integration of subjective and objective, thus the beauty is presented. Why can't Westerners always say it clearly? That is, Westerners tend to oppose the subjective and the objective, forming a dualistic world outlook, which is the same as the opposition of material and spirit. This is the fundamental reason why Westerners never know the essence of beauty. This shows that the essence of philosophy is also the fundamental problem of aesthetics, and also the fundamental problem of art. The reason why Western art is incomparable with Chinese calligraphy art is that western art is still limited to the material level, the form level, the concrete imitation of nature, the technical level in essence, and the spiritual level of art. We can't recreate the second nature abstractly. A spiritual nature. It is precisely because Chinese calligraphy art has reached the highest level of philosophy and is connected with Tao, which is a height that no art in the world can reach today. Tolstoy, a Russian writer, once said, "if an artist wants to create a great work, he must be at the highest level of world outlook of his time."
This is the fundamental reason why Western art, after experiencing the Italian Renaissance, came to the end of representativeness and began to learn abstract from China and absorb nutrition from Chinese calligraphy.
The 21st century is the century of Chinese calligraphy and "Tao" culture. Chinese calligraphy extends the Daoism of Laozi, Zhuangzi and Confucius, and shows the principle of "Tao", which is the spiritual realm of "only can be understood but can not be explained" in the form of materialization. It can be summarized as four words "Life Movement", the core of which is "love". This love is the foundation of the universe, so it is called great love. If you don't understand great love, you can't say Tao. It ends the saying that "knowing does not speak the word, saying the word does not know". It also affirms that "Tao" is the highest realm of spirit and philosophy, and establishes the guiding role of Taoism in all fields of the world.
Artists, scientists, great men and philosophers are all at the highest level of enlightenment. Otherwise, we can only stay at the level of technology and knowledge, which is the general level. Einstein made great achievements because he discovered the theory of "the unity of time and space", which is the same as "the movement of life". Unfortunately, he failed to realize great love, which is limited by the study of matter and practice. Therefore, he added a "gravity" after space and time. In essence, the "unity of time and space" itself contains gravity. There is only one paper between "great love" and "gravitation". I once said that "love is the greatest energy in the world and even in the universe". However, the paper gap between matter and spirit is as far away as the earth and the sun. It can be seen how far away technology is from Tao.
In 2009, Lu Zhenhan
Lu Zhenhan, born in 1955 in Wuhan, Hubei Province, was born in Xiaozhong and daze. He is a postgraduate of Chinese calligraphy and painting correspondence university, visiting professor of National Museum of China Gallery, distinguished professor of Chinese Calligraphy Art Research Institute, honorary president of Oriental Art Research Institute, honorary president of Nanjing Yangtze River calligraphy and painting art research institute, and senior philosophy consultant of China Wang Shipeng Research Association.
Lu Zhenhan has been engaged in calligraphy research, calligraphy creation and calligraphy teaching for more than 30 years. He has made outstanding contributions to Chinese culture and Chinese calligraphy art. He is a great master of philosophy, aesthetics and calligraphy in contemporary China, and is the first person to understand the Tao in Chinese calligraphy.
In 2004, he was included in the world's who list edited and published by the United States and Britain, and was invited to be the executive chairman's assistant of the city of world celebrities in Hong Kong. Please pay attention to: baidu.com, Lu Zhenhan calligraphy studio.
Calligraphy research results:
1、 Decipher the mystery of Chinese wisdom
It was first proposed in 2001 that "Chinese wisdom comes from Chinese characters and Chinese calligraphy".
"Chinese calligraphy is the art of philosophy" was put forward for the first time in 2001
In 2004, he wrote "daze secret book" on Book Science.
2、 Decipher the eternal mystery of Chinese Calligraphy
It was first proposed in 2001 that "without calligraphy, China is not China"
In 2001, it was proposed for the first time that "brush is the root of Chinese civilization, Chinese nation and Chinese art".
The theory of "extreme calligraphy" was first put forward in 2001. In 2001, he proposed for the first time that "the history of Chinese civilization is a history of ten thousand years of civilization, which is far more than 5000 years, and should be traced back to the Heluo civilization period, or the earlier time of tying ropes and timing", which was discussed in his paper "let the world listen to the voice of China" (the 7th issue of China Art Garden, a magazine of China Federation of literary and art circles)
3、 Miraculously, the mysterious veil of "Hetu" and "Luoshu" representing ancient Chinese civilization has been opened, and the wordless Tianshu of China has been deciphered, and Lu's Heluo in the land of Jingchu can be seen again.
Calligraphy teaching achievements:
He founded the "magic pen 30" rapid teaching method to cultivate more than 4000 new calligraphers for the school and the society. He was widely praised by all walks of life in the society and accepted an exclusive interview with the Chinese and foreign cultural exchange magazine (the interview was published in the 10th issue of 2011)